Dual Transient Generator (DTG)
The DUAL TRANSIENT GENERATOR (DTG) provides two independent outputs with voltage controllable rise and fall times. This module is identical to the Dual Universal Slope Generator except that it does not have all of the front panel features. This module is a useful, space-effective unit to be used for many of the same functions as the Dual Universal Slope Generator. Common uses of the Dual Transient Generator are for simple “AR”-type envelope generation, as a dual voltage-controlled low frequency oscillator, or as a voltage-controlled clock (especially suitable for clocking the Touch Keyboard Sequencer or any of the Sequencer Programmers). These functions can be patched with the Dual Universal Slope Generator, but since many of the features are left unused in these patches, the Dual Transient Generator provides the same function while using less front Panel space.
Mixer / CV Processor (3x1) (MPR)
[Note: Similar to the Audio Mixer (AMX), the Mixer / CV Processor's inputs and output are DC-coupled with blue jacks, indicating that they can process CV or audio. The other differences are 1) rather than a phase switch, IN 3 includes a single level and polarity control, and 2) the output includes a DC offset control.]
Wilson Analog Delay (WAD)
The Wilson Analog Delay was specifically designed to allow internal functions such as filtering, feedback, and delay to be determined by the user as a patch programmable function. Features of the Wilson Analog Delay include the following:
- VOLTAGE VARIABLE DELAY OVER A VERY WIDE RANGE, from a minimum of .0005 sec. to greater than one half second **
- VOLTAGE CONTROLLED PROGRAMMING OF THE FILTERS WHICH CONDITION THE INPUT AND OUTPUT SIGNALS.
- Availability of the TWO DELAYED OUTPUTS (A & B), one which is twice the delay of the other.
- A FLANGING OUTPUT with a control to set its depth
- A 1 VOLT PER OCTAVE (V/OCT) OUTPUT to permit controlling external VC filters easily.
- THREE INPUTS, each with its own gain control and specific function. IN-1 is the main audio input for internal or external signals. IN-2 is suitable for audio, but also for the input of control voltages to be delayed. IN-3 is connected via a switch to provide feedback selectively from either the "A" or "B" delay outputs, or from the AUX jack. This channel features a processing-type control to scale and invert either the feedback from "A" or "B" or the AUX signal.
- An INNOVATIVE NOISE-CANCELLATION CIRCUIT which produces a very clean sound, as opposed to the "muffled" quality of more conventional analog delays.
These features provide an amazingly varied palette of effects. Here are some of the possible ways to use this module:
- VC FLANGER
- "GLIDING" FREQUENCY SHIFT effects (the frequency shift effect is never steady, but is a function of envelopes varying the delay rate).
- STRAIGHT DELAY (perceived as fast repeats as in the delay between two tape recorder heads).
- ECHO CHAMBER EFFECTS, where the delayed signal is fed back into the Analog Delay's input. (The switchable AUX input is particularly valuable for this type effect, especially if an external VCA is inserted into the feedback loop, allowing voltage control of the number of echoes as well as their rate of occurrence).
- CHORUS EFFECTS
- VIBRATO EFFECTS
- DELAY AND ECHO OF CONTROL VOLTAGE ENVELOPES (via IN-2). Though the maximum guaranteed delay is .5 second, in practice the delay will go to more than 5 seconds for low frequency signals such as control voltages.
- MODULATION EFFECTS resulting from the modulation of the input signal by the clock internal to the Analog Delay.
** The first question often asked about the Analog Delay is how long a delay can it do? The answer to this question is fairly complex. Quite a long delay can be performed by the module. However, as delay becomes longer, the bandwidth of the signal which can be processed by the Analog Delay becomes more restricted. As an example, if it is desired to delay a signal consisting of a sine wave at 440 Hz (concert "A"), then better than a half second can be gotten quite cleanly. The same note with a lot of harmonics, say a square wave at 440 Hz, if delayed at a half second, will produce a very modulated output (if the Analog Delay's built-in filters are opened wide) full of extraneous signals, or will lose its overtones because the filters will remove them. (This is why many other delay modules have a dulling effect at long delays). The moral to this story is that one function which the Wilson Analog Delay will not do, is to reproduce the full effects of tape delay (i.e. "echo-plexing") without appreciably changing the signal being delayed. But tape delay is a stock effect, usually available to most synthesists (but which can be used with other voltage-controlled functions such as filtering, phasing, frequency shifting, etc., for more sophisticated effects). The forte of this module is its ability to transform signals and control voltages in an incredible number of ways.
The CROSS-FADER (XFAD) is an equal-power cross fade unit. The module has two signal inputs. As one signal increases in level at the output under manual or voltage control, the other signal decreases in level at the output. This effect is used to accurately fade one sound in while fading another out. Cross-fading with voltage control permits a smooth transformation between two different timbres. If a sound and its reverberated image (available with the Wilson Analog Delay) are sent through the cross-fader, the reverb mix can be voltage controlled. This effect can be used to modify the spatial characteristics of a sound event, from immediate presence to distant ambience. In addition to the cross-fade function, a VCA controls the output amplitude.
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